Suchergebnisse

Like most other fields, the study of Islamic art is both the beneficiary and the victim of its own past. Like many fields, it is affected in various more or less successful ways by developments and needs in related areas of learning. Like all fields, it is tied to the quality and idiosyncrasies of the men who practice it. Inasmuch as bibliographical surveys according to traditional lines of techniques and periods are available (Pearson, Index Islamicus with supplements, London, 1958, 1962, 1968; especially K.A.C. Creswell, A Bibliography of the Architecture, Arts and Crafts of Islam, Cairo, 1961) and current works are listed with a fair degree of completeness in the yearly Abstracta Islamica published by the Revue des Etudes Islamiques, my concern in this paper will be to review the state of the field, the ways in which one can find out about it, and the work being done according to three major categories: traditional techniques and documentation; new problems and solutions; light and dark areas of research.

Kritische, vergleichende Analyse der Hauptrichtungen westlicher Theorien über das islamische Bilderverbot

Frontmatter -- Contents -- Figures -- Acknowledgements -- Notes for the reader -- Image and text acknowledgements -- Introduction -- PART 1 Foundations -- 1. Theoretical formulations -- PART 2 Human Dimensions -- 2 The organisation of labour -- 3 Rituals, songs and poems -- 4 Biographical information -- 5 The lives of artisans and artists -- PART 3 Resources -- 6 Raw materials I: minerals -- 7 Raw materials II: plants -- 8 Raw materials III: animals -- 9 Mining and metal preparation -- 10 City descriptions -- PART 4 Inorganic Media -- 11 Copper -- 12 Iron and steel -- 13 Other metals: gold, silver and tin -- 14 Pottery -- 15 Glass -- PART 5 Organic Media -- 16 Wood -- 17 Basketry and matting -- 18 Leather -- 19 Spinning, bleaching and dyeing -- 20 Weaving -- 21 RUGS, CARPETS AND FELT Rugs, carpets and felt -- PART 6 Writing and Painting -- 22 Papyrus and paper -- 23 Calligraphy -- 24. Painting -- PART 7 Architecture and Engineering -- 25 Building techniques -- 26 Vaulting and architectural decoration -- 27. Engineering -- PART 8 Economic Considerations -- 28 Recycling and repair -- 29. Crafts in an age of competition and change -- Glossary -- Names of craft activities in Arabic and Persian -- Bibliography -- Index

Encyclopaedia Iranicais a Unique Work. Prof. Ehsan Yarshater and his colleagues have performed a colossal task in preparing and publishing volumes I-VIII. Archaeology, numismatics, pre-Islamic architecture, and art have all been dealt with comprehensively. I have divided the articles into the following groups: 1) Archaeology, architecture, and art; 2) archaeological periods; 3) material culture, architecture and art, and groups of artifacts; 4) monuments; and 5) varia. These articles were written by prominent specialists, many of whom participated personally in the excavations of the relevant monuments or examined them on site.

This luster bowl, made by the Persian potter Abu Zayd in February–March 1204 (Jumada II 600), exemplifies the broad range of questions that can be raised by Islamic art. The first question is that of provenance. The bowl appeared on the art market in 2001, unknown and undocumented but in virtually perfect condition. A battery of tests supports its authenticity. Jonathan Bloom and I included it in the exhibition Cosmophilia: Islamic Art from the David Collection, Copenhagen, which we organized for the McMullen Museum, Boston College, and which was on view until 20 May 2007 at the Smart Museum, University of Chicago. However, we are in the dark about where the bowl has been in the eight centuries since it was made.

The mosques have been appearance in Thailand since Ayutthaya Kingdom (1350 to 1767 A.D.) Until today, more than 400 years later; there are many styles of art form behind their structure. This research intended to identify Islamic Art in Thai mosques. A framework was applied using qualitative research methods; Thai Muslims with dynamic roles in Islamic culture were interviewed. In addition, a field survey of 40 selected mosques from 175 Thai mosques was studied. Data analysis will be according to the pattern of each period. The identification of Islamic Art in Thai Mosques are 1) the image of Thai identity: with Thai traditional art style and Government policy. 2) The image of the Ethnological identity: with the traditional culture of Asian Muslims in Thailand. 3) The image of the Nostalgia identity: with Islamic and Arabian conservative style. 4) The image of the Neo Classic identity: with Neo – Classic and Contemporary art. 5) The image of the new identity: with Post Modern and Deconstruction art.

Taking the case of curatorial practices at the Museum of Islamic Art (MIA) in Doha, this study analyses practices of exhibiting Islamic art in Qatar. Drawing on interviews, observations and visual material collected during a stay in Doha in November and December 2015, it sheds light on MIA's conditions, history, and present. Against the backdrop of Michel Foucault's writings on power/knowledge, I argue that MIA cannot be understood on the basis of a dominant liberal cultural policy paradigm. Rather, it needs to be understood as 'a dynamic and contingent multiplicity' (Barad 2007, 147). Notwithstanding, this multiplicity meaningfully relates to Qatar's shifting political priorities as well as discourses on Islamic art and the exhibition.